Sentences with phrase «film and music scene»

Living in New York City in the late 1970s and early «80s, Wool immersed himself deep into the underground film and music scene that centered around the East Village, finding a kind of nihilistic camaraderie in the punk rock aesthetic that thrived amidst the city's crumbling decay.

Not exact matches

But the city's music and film scenes remain vibrant.

A surviving film, available on YouTube, captures some of the music and behind - the - scenes activity of the concert.

Vancouver is one of the best film taking place and has flourishing arts, theatre and music scenes.

I was passionately engaged in the music scene in New York City and married my husband just after filming a video for MTV...»

History of BBC studios in London offers news, comment and features about british arts scene sections books, films, music, theatre, art architecture.

I envisioned This Land Is Mine as the last scene of my potential - possible - maybe - feature film, Seder - Masochism, but it's the first (and so far only Saraswati (Sanskrit: सरस्वती, Sarasvatī) is the Hindu goddess of knowledge, music, arts, wisdom, and learning worshipped throughout Nepal

Offers news, comment and features about the British arts scene with sections on newspaper dating column books, films, music, theatre, art and.

Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecture.

Tinder has released a list of the top right - swiped names in the UK Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecture.

The Anthology of American Folk Music is a six - album compilation released in 1952 by Folkways Records (catalogue FP 251, FP 252, and FP 253), comprising Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecMusic is a six - album compilation released in 1952 by Folkways Records (catalogue FP 251, FP 252, and FP 253), comprising Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecmusic, theatre, art and architecture.

American Idol runner up Katharine McPhee films a Scorpion scene with ex Elyes Gabel amid confirmation she's dating music producer David Foster Katharine McPhee and Elyes Gabel have split after almost two years of dating, a source confirms to Us Weekly — details

Judge Allows $ 750 Million Lawsuit from JonBenet... FX's «Versace» Joins Parade Of True - Crime Conte... Judge wona t dismiss suit filed Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecture.

Oddly dated and loudly present in nearly every scene, the music conveys bleak, urgent anxiety from the outset, leaving the film little room for tonal maneuvering.

Although the film is punched up by some energetic cutting and hip - hop music, many dialogue scenes, particularly early on, are badly written and awkwardly staged.

Despite the film being set in the late 90s / early 00s, the music is all from the early 90s and, clumsily, a number of posters in the background of scenes are of films released years after.

It is a great film, which focuses more on how they built their careers from the music and passion of each, and games behind the scenes making it more fun

The music in this film has a masterpiece atmosphere that controls characters» feelings scene - by - scene but the cinematography and jump - cuts is also a masterpiece that nobody would ever find a British film with a masterpiece cinematography like

Assayas uses music, mostly classical, the clouds of the film's title, and his weighty lines spoken by his talented actresses (particularly Binoche) to create a dream - like film arcing from one revelatory scene to another.

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

The Nashville Metro airport is a scene awash with marching bands, live newcasters, security police, twirlers, the Chamber of Commerce and an adoring crowd of fans for the arrival of Barbara Jean (Ronee Blakely in her film debut), the reigning lady of country - western music, who «has been away for special treatment at the Baltimore Burn Center» following an accident.

An early scene that sees Toni skipping rope and contemplating the world around her (her defining characteristic) is exemplary: all of a sudden, the soundtrack becomes possessed with what sounds like a piece of music originally recorded for a 1940s swamp - monster horror film.

The film finds joy in scenes like the one in which he creates a fake Walkman and dances to the music in his head.

Among many others, the scene with The Dude morphed onto a bowling ball and rolling down the lane - between the legs of a horde of beautiful women - and to some groovin» music - may be the funniest and most surreal thing I've ever seen in film.

You don't need to be involved in the jazz scene or have an understanding of drumming for the movie's core theme to connect; music is simply the vessel to drive home one of the most emotional and awe - inspiring films of the past decade.

Director Jeremy Saulnier set his film in this world because it is one that he says he knew very well, having been a part of the punk and hardcore music scene in the»90s.

Similarly the music choices of the film feel intentional, with songs often starting at the tail end of scenes and bleeding into the next in a way that contrasts rather than unites these scenes.

The Music Lovers is divided between scenes of horror and scenes of decadent but hypnotic romanticism; that tension gives the film its extraordinary impact.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

The non-HD extras include the deleted scenes, commentary, and more music clips that appeared on previous releases of the film.

Les Affamés definitely isn't the gore fest the Romero - type zombie movies usually are, but there are still plenty of jump scares throughout the film, although, to be fair, they mostly do these well, thanks to a sparse use of background music and some well - paced scenes.

The non-HD features on Shrek 2, just like on the Shrek disc, include another look at the music of the film and audio commentaries, but no deleted scenes this time.

Blu - ray extras include audio commentaries on all three films by writer - producer Bob Gale and producer Neil Canton; a nine - part retrospective documentary; a six - part making - of documentary; deleted scenes; Q&A sessions with Zemeckis, Gale and Fox; a 1989 TV special hosted by Leslie Nielsen; pop - up trivia facts; music videos for «The Power of Love» and (from Part III) ZZ Top's «Doubleback»; and mock 2015 commercials plugging the hoverboard and the release of Jaws 19.

But Billboards still speaks the language of film, with incredibly well - staged scenes and a great visual gag involving Officer Dixon (Sam Rockwell) and his music.

The audio track is similarly excellent, especially considering the film's mixing of overlapping dialogue, raucous and noisy crowd scenes, and incidental music — much of which is provided by Frank Zappa and the Mothers of Invention.

He then immersed himself in the underground art and music scenes making short films, album covers and music videos with a burgeoning group of influential and groundbreaking artists.

One small spoiler, if I may: the film's opening scene makes wicked use of a beloved (if now obscure) British recording by the music - hall team of Flanagan and Allen.

Award - winning composers Michael Giacchino (Lost), Wendy Melvoin and Lisa Coleman (Heroes), Nathan Barr (True Blood), Jim Dooley (Pushing Daisies), John Ottman (Superman Returns), and Avatar: The Last Airbender) have all composed for Comic - Con's fan - favorite series and are here to share a behind - the - scenes perspective on creating music for television and film.

With this film, it was difficult because we were trying to get the story right and one would write the music, but then the scenes would change around and it all becomes redundant.

Firstly, the refusal of the late guitarist's estate to sanction any of his music for the film hampers it from the off while the constant use of lookalikes to represent the likes of Eric Clapton, members of The Beatles and Rolling Stones makes the recreation of the elite London rock»n' roll scene in 1966/67 look faintly farcical.

Glass composes a key piece of music which is utilized during the film's finest scene, acting as a perverse type of intimate moment between Charlie and his niece.

It's a shame, though, that the other elements of the film are not covered in more detail than Neil's own accounts: Navarrete's music and Sean Bobbitt's cinematography are so stunning that behind - the - scenes chats with them would be very illuminating.

In our discussion we explore key sound scenes including the opening title sequence, alien creature vocals and ship by's and how the sound and music team achieved a sense of confinement for the films characters.

A five - minute featurette called «Greetings From Bull Mountain» is the standard five - minute B - roll / soft - sell interview errata that features a few additional male buttock shots; «King of the Mountain» is a two - minute music video that splices action sequences from the film together with bloopers and sets it to music (something resurrected in feature - length form by this year's ESPN's X-movie); and nine chapter - encoded deleted scenes (blissfully sans commentary and running between fifteen seconds and a minute, each) are essentially long «comedy» shticks that prove for as bad as Out Cold was, it could have been even worse.

Bonus extras for the first film include deleted scenes, music videos (with Jackie Chan and Christina Aguilera), a featurette (The World of Mulan) and games (Mulan's World and Fun Facts).

In reflecting on Anderson's body of work, with all of the memorable scenes in his films — dazzling multi-character, multi-location sequences tied together by music, or stunning two - person face - offs (the staring contest between Philip Seymour Hoffman and Joaquin Phoenix in The Master comes to mind)-- his romantic scenes inhabit some kind of sweet spot, tender as a bruise on an apple.

It does for me, as there are images, pieces of music, and particular scenes that have stayed with me over the years, and although I hadn't seen the film in about two decades, it amazes me how much of it I still remember.

They were part of a montage using popular film scenes to parody music videos, a montage humorously introduced by hosts Anne Hathaway and James Franco.

The film has the odd interesting loose - end, uses music unpredictably and it is properly grotesque in places, such as the first scene in which we see the Brufort family chewing on the various limbs and body parts of their victims.

After the break, Donal Logue plays an important figure in the New York music scene, and Colin Farrell is in talks for the Mary Poppins film Saving Mr. Banks.